Saturday, September 15, 2012


A new responsibility, at least for the next two weeks.
Friday, September 14, 2012
ART (Aesthetically Rejected Thing): Yacht Rock Burglar Alarm

Armed with a copy of Scott Mueller's Upgrading and Repairing PCs, and's invaluable assistance, I just upgraded the RAM in the desk machine at work.  No explosion, fire, or blue screen of death. 

This may not seem like much of an accomplishment, but I have limited hand-eye coordination, zero patience, and bad spatial skills, making this one of the more challenging physical things I've done in the few years.  More importantly, I am now basking  in the atypical and enjoyable sense of actually having performed real "work."
Thursday, September 13, 2012

CJ (22), 2012

Soundtrack for Metropolitan

By the look in your eyes
You'd think that it was a surprise
But you seem to forget
Something somebody said
About the bubbles in the sea
And an ocean full of trees.

And you now, L.A.

city in the smog,
city in the smog.
Don't you wish that
you could be here too?
Don't you wish that
you could be here too?
Don't you wish that
you could be here too?

Well, it's hard to believe

So you get up to leave
And you laugh at the door
That you heard it all before
Oh it's so good to know
That it's all just a show for you.

But when the suppers are planned

And the freeways are crammed
And the mountains erupt
And the valley is sucked
Into cracks in the earth
Will I finally be heard by you
Tuesday, September 11, 2012

Sketch for Metropolitan (JLSK), 2012

Metropolitan (61), 2012
Monday, September 10, 2012
Q: Any other Nightfly stories you'd like to share?

A: Here's a classic story from recording The Nightfly at Soundworks. About six months into recording the album -- it took a couple of days less than one year to do -- I was working five days a week, taking weekends off. I came in and Donald was doing some vocals and he goes "Something smells weird." And so we kind of go "Yeah, yeah, yeah." But as the day goes on there "is" a peculiar smell in the control room. So next day we come in and we mention it and it's a little bit worse the next day and Donald's going "I can't work, there's something nauseating in the room." What it is we have no clue. This goes on and on and finally Donald says "I'm not gonna come in and work until you can find out what it is." So he starts to take days off and that is a concern for Charlie Bonatti who owns Soundworks. So we said "Call us if the smell is gone and we'll come in and work." We arrive at the studio and there's candles and sticks of incense burning and that's how they got rid of the smell. They tried checking everything; he has people coming in and going through all the air conditioning and finally they just start to tear apart the studio and literally tear out part of the control room, all the equipment, they take away the console, they tear up carpeting, they tear up floors; the studio is gutted and finally they start tearing up the floorboards and back in one corner of the room is a little drainpipe and there is a very moist, very dead, very big rat. And it just came out of this pipe and died from eating poison. We literally took about a week off from the album because of this dead rat.
Sunday, September 09, 2012

One of this year's motifs.  For the record: N34° 4.5735', W118° 17.5622'
Pertinent news headline: BRAYSHAW COMMITS 'FOR THE LONG HAUL'

Metropolitan (60), 2012

December desert light, out in the far reaches of the Inland Empire.

"Shooting. Stick exclusively to impressions, to sensations. No intervention of intelligence which is foreign to these impressions and sensations."

Metropolitan (59), 2012
John Roberts, The Intangibilities of Form: Skilling and Deskilling in Art After the Readymade

"Copying or replication in art is not an inert practice, the repetition of the prototype, but the very means by which art provides a new successor to its chosen antecedent. Thus, the reworking or incorporation of extant materials is as much a means of sustaining what is thought to be authentic and critical, as it is a way of trying to replicate or 'steal' what is felt to be the aura of the image or object in question. In this respect copying clearly needs to be distinguished from plagarism or pastiche proper given their association with traditional craft, and of passing one thing off in the style or manner of another. Whereas the latter replicates the admired precedent as an act of indebtedness, the former takes the likeness of [a] thing in order to inscribe it, or reinscribe it, in a critical tradition or novel context. Copying in this sense, therefore, is never strictly copying, never flat mimesis, because it is able to reanimate the thing replicated. Or, as Kant puts it, mimesis can be divided into two modes: nachahmen, which is merely a form of reproduction, and nachfolgen, which is transformative and creative. This is why the act of selecting and presenting a readymade [...] is always a creative act. Reproduction becomes a form of creative re-presentation, or reenactment, insofar as it brings the thing reproduced to life, or rather, releases it from its previous identity."

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